Pierre (1922) Gauvreau Paintings & Artwork for Sale | Pierre (1922) Gauvreau Art Value Price Guide

Mar. 15, 2022
Gauvreau, Pierre et Carreau, Janine - Echo d'un autre monde III - 2009
Est: $8,000 - $12,000
Gauvreau, Pierre et Carreau, Janine (1922-2011, 1948-) Echo d'un autre monde III (2009) Description (FR): Cadavre exquis, acrylique, collage et aérosol sur 21 pièces de bois, signée et datée en bas à droite Gauvreau 2009 et en bas à gauche Carreau 2009, titrée au dos. Illustré à la page 173 du livre Échos d'un autre monde Pierre Gauvreau et Janine Carreau Description (EN): Exquisite corpse, acrylic, collage and spray paint on 21 pieces of wood, signed and dated on lower right Gauvreau 2009 and on lower left Carreau 2009, titled on back. Illustrated on page 173 of the book Echos d'un autre monde Pierre Gauvreau and Janine Carreau Dimension (PO): 31 1/2" x 39" Dimension (CM): 80 x 99 cm Rapport de condition: Sur demande, nous nous ferons un plaisir de répondre à vos questions de manière détaillée. Condition report: Upon request, We will gladly answer all your inquiries in a detailed manner.
Champagne Auctions
Jul. 06, 2021
Gauvreau, Pierre; Carreau, Janine - Abstraction - 2009
Est: $1,800 - $2,200
Gauvreau, Pierre; Carreau, Janine (1922-2011; 1948-) Abstraction (2009) Description (FR): Techniques mixtes sur papier, signée et datée au bas Gauvreau 2009 Carreau 2009 Description (EN): Mixed media on paper, signed and dated at the bottom Gauvreau 2009 Carreau 2009 Dimension (PO): Ø 16" Dimension (CM): Ø 40.64 cm Rapport de condition: Sur demande, nous nous ferons un plaisir de répondre à vos questions de manière détaillée. Condition report: Upon request, We will gladly answer all your inquiries in a detailed manner.
Champagne Auctions
Oct. 17, 2018
Gauvreau, Pierre (1922-2011) et Carreau, Janine (1948- ) Fils conducteurs (2001)
Est: $3,000 - $5,000
Technique mixte sur papier, signé et daté en bas à gauche Gauvreau 2001 et à droite Carreau 2001 Mixed media on paper, signed and dated on lower left Gauvreau 2001 and at right Carreau 2001 Ø 19 ¼”; 48.89 cm
Champagne Auctions
Apr. 11, 2018
Gauvreau, Pierre (1922-2011) Les revoici ! (1997)
Est: $8,000 - $12,000
Huile sur toile, signée et datée au dos Gauvreau 97 Oil on canvas, signed and dated on the back Gauvreau 97 48" x 30"; 121.92 x 76.20 cm
Champagne Auctions
Apr. 23, 2017
Gauvreau, Pierre (1922-2011) et Carreau, Janine (1948- ) Fils conducteurs (2001)
Est: $3,000 - $5,000
Technique mixte sur papier, signée et datée en bas à gauche Gauvreau 2001 et à droite Carreau 2001 Mixed media on paper, signed and dated on lower left Gauvreau 2001 and at right Carreau 2001 Ø 19 ¼; 48.89 cm
Champagne Auctions
Dec. 11, 2016
Gauvreau, Pierre (1922-2011) Petits nids pour grands oiseaux (1999)
Est: $4,000 - $5,000
Techniques mixtessur toile, signee et datee en bas a gauche Gauvreau 99 Mixed media on canvas, signed and dated on lower left Gauvreau 99 30 x 24 in ; 76.20 x 60.96 cm
Champagne Auctions
May. 13, 2014
GAUVREAU, Pierre (1922-2011)
Est: $3,000 - $4,000
GAUVREAU, Pierre (1922-2011) "Quand les brumes se dissipent" Mix media on canvas Signed and dated on the lower left: Gauvreau 2006 Titled and signed on the reverse 61x51cm - 24x20" © Succession Pierre GAUVREAU / SODRAC (2014)
Iegor
May. 26, 2011
PIERRE GAUVREAU 1922 - 2011
Est: $18,000 - $22,000
PIERRE GAUVREAU 1922 - 2011 PLUTOT QU'EN PYJAMA 1978 signed and dated lower left gauvreau 78; signed, titled and dated on the reverse 182.9 by 121.9 cm. 72 by 48 in.
Sotheby's
Nov. 27, 2010
Pierre Gauvreau 1922 - Canadian acrylic on paper
Est: $4,000 - $5,000
Pierre Gauvreau 1922 - Canadian acrylic on paper laid down on board Rose limitrophe 9 x 12 inches 22.9 x 30.5 centimeters signed and dated 1978 and on verso titled on two gallery labels Provenance:Kastel Gallery, Montreal Galerie d'art Michel Bigue, Quebec Private Collection, Toronto
Heffel
Oct. 27, 2010
Pierre Gauvreau (b.1922 Quebec) Plutot qu'en
Est: $6,000 - $9,000
Pierre Gauvreau (b.1922 Quebec) Plutot qu'en pyjama, 1978 acrylic on canvas signed and dated l.l.c. "Gauvreau '78", titled, signed and dated verso: "Plutot qu'en pyjama, Gauvreau, 28/08/78/1" 121 x 183cm PROVENANCE: Galerie Gilles Saint-Pierre, Montreal The Estate of John Wareing
Shapiro Auctioneers
May. 26, 2010
Pierre Gauvreau 1922 - Canadian oil on board Naze
Est: $25,000 - $35,000
Pierre Gauvreau 1922 - Canadian oil on board Naze iman brun 13 x 10 1/4 inches 33 x 26 centimeters signed and dated 1947 and on verso titled indistinctly on a label Literature:Gilles Hénault, ""Au sujet d'une exposition de P. Gauvreau"", Combat, November 22, 1947 Tancrède Marsil, ""Gauvreau automatiste"", Quartier Latin, November 28, 1947 François-Marc Gagnon, Chronique du mouvement automatiste québécois, 1998, pages 392, 732 and 733 Jeanette Biondi, Le jeune homme en colère: Biographie de Pierre Gauvreau, 2003, pages 165 and 166 Provenance:Loan from the Artist to Jean-Paul Riopelle, 1948 - 1971 Galerie Gilles Corbeil, Montreal Private Collection, Montreal Exhibited:75 Sherbrooke Street West, Montreal, Trente-trois tableaux de Pierre Gauvreau, November 15 - 30, 1947, catalogue #24 Galerie Nina Dausset, Paris, Rixes, January - July 1951, traveling to Galerie Marcel Evrard, Lille, Galerie Lou Cosyn, Brussels, and Galerie Springer, Berlin Demobilized from the Canadian army in the summer of 1946, Pierre Gauvreau returned from England and settled very quickly into the Montreal art scene, taking part in one group exhibition with the Contemporary Arts Society in November 1946 and in another in February 1947 with the painters who in those very weeks were dubbed "Les Automatistes" by journalists. This second Automatist group show was held in the Gauvreau family apartment on Sherbrooke Street West. Pierre must have started painting immediately on his return, because by November of 1947 he had enough for a solo exhibition of 33 works in that same apartment. Naze iman brun was included, as we know from the list published in François-Marc Gagnon's Chronique du mouvement automatiste québécois. The title probably comes from the poet Claude Gauvreau, Pierre's brother, whose fantastic explorational language is in evidence here and with other titles in the show, such as Tnerrêche. Domestic as it may have been, this solo exhibition actually gave rise to six substantial articles in three Montreal newspapers including "Gauvreau, automatiste", an interview of the painter by the young journalist Tancrède Marsil, and a review by Gilles Hénault, poet and critic destined to be an early director of Montreal's Museum of Contemporary Art, who wrote, "If we look at Gauvreau's paintings as they should be looked at, concentrating on their plastic qualities, we have to conclude that they are among the best we've seen, at least among young French-Canadian painters." Naze iman brun was in the Jean-Paul Riopelle collection for more than 20 years because it, along with other Gauvreau paintings, accompanied Riopelle and and his wife Françoise back to France in December of 1948. They had come home to Canada to have their first child, Yseult, and while they were there, signed the Automatist manifesto, Refus global. The idea was to show the paintings in Europe, including Naze iman brun, as eventually happened. Though Riopelle's friendship with André Breton eventually cooled, he maintained contact with members of a Surrealist splinter group around the magazine Rixes. In 1951, Rixes organized a series of exhibitions in which Gauvreau appeared with Riopelle and other painters from around the world including Christine Boumeester (France), Henri Goetz (France), Iaroslav Serpan (France), Jerzy Kujawski (Poland), Matta Echaurren (Chile), Francisco Nieva (Spain), Heinz Trökes (Germany) and Enrique Zanartu (Chile). Over the spring and summer, this exhibition appeared at the Galerie Marcel Evrard in Lille, at the Galerie Springer in Berlin, and at the Galerie Lou Cosyn in Brussels, as mentioned by Gagnon in Chronique du mouvement automatiste québécois and Jeanette Biondi in Le jeune homme en colère: Biographie de Pierre Gauvreau. The painting came back to Canada with Riopelle in 1971, to Galerie Gilles Corbeil in Montreal, and later found its way into a private collection. To my knowledge, it has not been seen publicly for over half a century, which is a shame because it is very rich in its brown shades, very imposing in spite of its small size, and is characteristic of Gauvreau's work at this time. It is certainly non-realist but still figurative in its organization, with biomorphic shapes against a varied background, with patches of colour and sketched lines laid on with a brush, rather than the palette knife that was becoming popular with other members of the group. We thank Ray Ellenwood co-author of Automatiste Revolution, for contributing the above essay.
Heffel
Nov. 19, 2008
Pierre Gauvreau 1922 - Canadian mixed media on
Est: $3,000 - $5,000
Pierre Gauvreau 1922 - Canadian mixed media on canvas La fleur ignifère II 20 x 16 inches 50.8 x 40.6 centimeters signed and dated 2004 and on verso signed, titled and dated Provenance:Collection of the Artist Pierre Gauvreau was one of the artists at the heart of the events which unfolded in the Montreal scene in abstract painting, having been a member of the Contemporary Art Society in 1939 with artists such as Paul-Émile Borduas. He exhibited with the Automatist painters and was a signatory to the famous 1948 manifesto Refus global, an important document in the history of Canadian modernist painting. Later, Gauvreau was an active member of the Non-Figurative Artists of Montreal and was known for his biomorphic shapes floating on variegated backgrounds.
Heffel
Nov. 19, 2008
Pierre Gauvreau 1922 - Canadian oil on board La
Est: $20,000 - $30,000
Pierre Gauvreau 1922 - Canadian oil on board La Corriveau est en retard à soir 48 x 48 inches 121.9 x 121.9 centimeters on verso signed, titled and dated 19, février 1977 Literature:Pierre Gauvreau, Les trois temps d'une paix: Entretiens avec Michel Désautels, 1997, page 84 Provenance:Estate of Gilles Corbeil, Montreal Private Collection, Montreal Exhibited:Galerie Gilles Corbeil, Montreal, Pierre Gauvreau, 1978 Maison de Radio-Canada, Montreal, Pierre Gauvreau, 1987, catalogue #2 Verticale de jour (lot 109 in Heffel's Spring 2008 sale) was one of the works done by Pierre Gauvreau shortly before an important hiatus in his painting. There was no decision to stop painting, he said, it just happened. Of course, he had been maintaining a very demanding and exciting parallel career in film and television. La Corriveau est en retard à soir was one of the first paintings done after his return to active painting in February of 1977 (which has continued into the present). Speaking with Michel Désautels about this return, Gauvreau remarked, "It was fascinating and bizarre at the same time. The first brush-strokes, the first paintings, came out of me as if there'd been no interruption. I mean exactly as if I'd left off last night. The same colours, the same strokes, the same world. As if that aspect of my creative universe had just been on hold and was suddenly switched on again. As if nothing had happened in my life for thirteen years! It was almost hallucinating. That period lasted about three months, and then, suddenly, everything changed. More vibrant colours, larger formats, a completely different universe coming from my canvases." La Corriveau est en retard à soir can be seen as one of those transitional canvases, with brushwork resembling what we see in Gauvreau's work of the sixties. It is still of a modest size, but in much brighter pigments than the earlier work, and with a tension between bunches of heavy strokes and areas of more pure, flat colour, giving the impression of recession in depth, contrasting areas, even of landscape. In a few months, Gauvreau would take on much larger canvases, in the 200 x 400 cm range, with a mixture of geometric "windows," squares and triangles, and very active gestural calligraphy. This resurgence of a major Montreal painter was heralded in an exhibition at the Galerie Gilles Corbeil in Montreal, March 2 - 21, 1978. La Corriveau est en retard à soir was one of the paintings included in that show which marked a crucial turning point in Gauvreau's career. It was bought by Gilles Corbeil himself and remained in his collection until his death. Concerning titles: abstract painters often gave their works dates, numbers, or even the word "abstraction" for a title, apparently on the assumption that a non-descriptive title should signal the non-figurative quality of the painting. Gauvreau did not follow that trend. Instead, from very early in his career, he gave his works sometimes fanciful, apparently arbitrary titles, often with literary or historical allusions and elaborate word-play - as if the titles were an extension of the creative process of the painting, rather than an attempt to define it. In the case of La Corriveau est en retard à soir, there is a playful tension beween the painting itself, with its exuberant and colourful energy, and the ghoulish figure referred to in the title. In Quebec City in April 1763, Marie-Josephte Corriveau was convicted and hanged for the murder of two husbands. Her body was locked in a cage of iron and suspended from a post near Pointe-Lévis, horrifying the people around and eventually giving rise to spooky legends (see Philippe Aubert de Gaspé, Les Anciens Canadiens). Her ghost may haunt this painting through the title, but it is not gloomy because she has not arrived yet, she is late this evening; just as, in the title of another colourful Gauvreau painting done in July 1978, she is on vacation. We thank Ray Ellenwood of York University for contributing the above essay.
Heffel
Mar. 29, 2008
Pierre Gauvreau 1922 - Canadian oil on canvas Le
Est: $20,000 - $25,000
Pierre Gauvreau 1922 - Canadian oil on canvas Le Coq de Porcelaine Jaune AOL0308-E05677-001 32 1/4 x 28 inches 81.9 x 71.1 centimeters signed and dated 1949 Provenance:Acquired by the current owner's mother in Montreal in 1950 By descent to the present Private Collection, Sweden In 1950, the current owner's father was the chief engineer at Sandvik Steel in Sandviken, Sweden and completed his last assignment in Montreal, which was to found Sandvik Steel's Canadian subsidiary. It was during this time that the owner's father fell severely ill, and the Gauvreau was purchased at a Montreal gallery by the owner and his mother as a "get well gift." The artist's records confirm that this painting was included in his second solo exhibition which took place in a borrowed apartment at 75 Sherbrooke Street West in 1950. The owner's father recovered, and the family, along with the painting, returned to Sweden where the piece has remained until now.
Heffel